Late Ming Dynasty In the form of a duck standing on its right webbed foot with the left raised on a gilt-bronze stepped pedestal with a pendant lotus border underneath a beaded board, the bird depicted with its gilt-bronze head slightly turned to the left with its beak rendered agape and revealing its slender tongue, inlaid with beaded yellow eyes in paste, the exterior of the hollow body, neck and upturned tail brightly enamelled with undulating streaks of plumage, the cover formed as the wings of the bird and similarly rendered with bright plumage, centred with a pierced circular aperture in the form of a cash coin. 24cm (9 3/8in) high. 注脚 明晚期 銅胎掐絲琺瑯寶鴨熏爐 Provenance: The Oriental Art Gallery Ltd., London, 1995 David Bell Peck III (1922 – 2000), Chicago Christie's New York, 18 September 2014, lot 604 Published and Illustrated: The Oriental Art Gallery Ltd., Oriental Works of Art, London, 1995, cat. no.116 來源： The Oriental Art Gallery Ltd.，倫敦，1995年 David Bell Peck 三世（1922 – 2000）舊藏 紐約佳士得2014年9月18日，拍品編號604 出版及著錄： The Oriental Art Gallery Ltd.，《Oriental Works of Art》，倫敦，1995年，編號116 Imperial cloisonné enamel incense burners of high quality created in the form of a Mandarin duck such as the present lot are very rare. Compare two closely related examples from the Qing Court Collection, both modelled standing on a stylised lotus leaf and dated to the late Ming dynasty, illustrated in Zhongguo jinyin boli falangqi quanji: 5: falangqi vol.1, Hebei, 2001, nos.126 and 127, of which the slightly larger example shows a very similar overall structure, modelling technique and execution of the enamelled design such as the undulating streaks of plumage and the poised webbed feet. See also a related goose-form incense burner, but lacking its pedestal, from the collection of David David-Weill and now in Musée des Arts Décoratifs, Paris, illustrated by B.Quette, ed. Cloisonné. Chinese Enamels from the Yuan, Ming, and Qing Dynasties, New York, 2011, p.277, no.104. See also a pair of Mandarin duck form incense burners, depicted standing on a lotus leaf base, illustrated in Colorful, Elegant, and Exquisite: A Special Exhibition of Imperial Enamel Wares from Mr. Robert Chang's Collection, Suzhou, 2007, pp.118-119. As with the present incense burner, the heads and legs are gilt, and there are openings in the backs that would have been fitted with a cover. Compare also a cloisonné enamel 'Mandarin duck' incense burner, 16th century, with a Qianlong period stepped domed pedestal from the Speelman collection, which sold at Sotheby's Hong Kong, 3 April 2018, lot 3448. 銅胎，鴨首足鎏金，張口偏脖，雙目嵌琉璃，鏨刻細羽，脖頸以下掐絲作波浪形翎毛，內填紅白黃綠藍諸料，內中空，雙翼掐絲琺瑯作翎毛，頂部開銅錢形氣孔，一足抬起，一足直立於仰蓮鎏金圓座上，座鎏金。 明代晚期，掐絲琺瑯工藝工藝變得更加豐富，出現了以動物造型至琺瑯器。此香薰以寶鴨為形，又稱鳧式香薰，為明代晚期動物形製掐絲琺瑯器中難得一例。北京故宮博物院藏有兩件明代晚期的動物形香薰，一件為鴛鴦形，另一件為寶鴨形，見《中國金銀玻璃琺瑯器全集5：琺瑯器（一）河北，2001年，編號126及127。其中寶鴨形香薰的工藝及造型，以及翅面的羽毛的掐絲工藝都與本拍品極為相似。 另見巴黎裝飾藝術博物館藏一件明晚期鵝式香薰，著錄於B. Quette編，《Cloisonné. Chinese Enamels from the Yuan, Ming, and Qing Dynasties》，紐約，2011年，頁277，編號104.另見張宗憲先生藏一對明代銅鎏金掐絲琺瑯鴛鴦香薰，著錄於《絢麗·華貴·至尊：香港張宗憲先生珍藏御製宮廷掐絲琺瑯特展》，蘇州，2007年，頁118-119。 另可參考英國Speelman舊藏一件明十六世紀掐絲琺瑯寶鴨熏爐配清乾隆掐絲琺瑯蓮瓣座，後售於香港蘇富比，2018年4月3日，拍品編號3448。